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Stanley Chapman is not a well known translator or writer. The sum of his original works,
which are difficult – when not impossible – to find, and of his translations is modest. He
would probably have gone completely unnoticed by the literary establishment – beyond the
literary circle of the Collège de ’Pataphysique, the Oulipo and the Outrapo – had he not
translated two of the French writer Boris Vian's most famous novels : L'Écume des
jours (Froth on the Daydream) and L’Arrache-coeur (Heartsnatcher). Has Vian's singular
prose incited Chapman to the act of writing, an activity which springs from, and unfolds in,
the act of translating ? Moreover, could the intellectual affinities Vian and Chapman
shared have also been a factor in this translating experience ? According to Henri
Meschonnic and Antoine Berman, a translation criticism reveals the close interaction of
thought, writing and translating. Using Meschonnic's « poetics of translation » and
Berman's « translation analysis », this memoir will endeavour to determine how
Heartsnatcher, the English translation of L’Arrache-coeur, can be considered an act of
« translating-writing ». Taking into account such concepts as rhythm and significance
(signifiance), our criticism will identify the crucial strategies that arise from this act of
creation that is translation, and in so doing, will reveal the particular manner in which
Stanley Chapman translated L’Arrache-coeur.